Perhaps some critics might. But I don’t. I thought Peter Jackson’s Hobbit was brilliantly done and see no reason to dismiss it because of its genre, length or resemblance to his cinematic adaptations of J.R.R. Tolkien’s LOTR trilogy, which I adore as well. And I’m looking forward to the next hobbity installment, The Desolation of Smaug, which I’m sure will be much more entertaining than any prestigey part of Lincoln—and less pretentious to boot. I’ll venture to guess that any picture with a talking, fire-breathing dragon in it won’t be in the same “for your consideration” pool come Academy Awards time.

But that’s the problem. Return of the King set a precedent for CGI-filled fantasy films … and the awards folks have been reluctant to dip into that well since. Look at Guillermo del Toro’s spellbinding Pan’s Labyrinth, as great a movie as any that has appeared in the last two decades, yet it was stepped over at the Oscars some years ago for The Lives of Others. I gotta think the special effects were the deciding factor. They’re components that everyone wants to see at the movies—as long as no one thinks they can help create a work of art.

I don’t believe in that balderdash. It’s based on the idea that popular entertainment can’t be important, which has remained pervasive despite centuries of being disproven by everyone from Charles Dickens to Aaron Copland. Art isn’t restricted to any particular theme or genre; it’s restricted to quality. And I think The Hobbit makes that grade.

Do I think it’s the most fabulous film? Nope; it’s got script issues like almost every movie, and it does feel padded in parts. But by and large, it channels the stirring spirit of Jackson’s previous LOTR flicks, and that’s a worthy breed. I’d rather watch that any day of the week over Lincoln and won’t convince myself not to because it’s based on a fantasy novel.